see miscellaneous photos

THE NEWSOUND PHOTO STORY

ROGUES GALLERY

The cassette tape door
on the right side is open. The CD
player on top. AM FM. Numerous gizomos
and gagets all engineered in a flashy cabinate to
mask a shrieky sound. Appropriately called a getto blaster.
This consul was used from day 1 (first day) to day N (last day) as
the principle electronnic driver for all sound experiments
reported herein except where clock radio
and Prosonic is mentioned.

THE FERRIS WHEEL

This, in a
strategic hot spot
in a sonic experiment, puts
an added ingredient in (also amplifies)
space in sound, that is, echoes that come from behind
objects in the sound image. Without it, a good stereo from a stereo
source or mono, can nonetheless sound a bit muffled as if
listening through the glass of a window. Put the
Ferris Wheel in a good hot spot and the
space opens up as if the glass
has been taken away. On
its own its a poor
conducer it
inputs a degree
of distortion but in
the right situation it makes
it possible to be able to play with
live presence sonic sensations and 'echoes' at
will, not possible otherwise. No experiments took place
without the 'Ferris Wheel' present from the time it was first assembled.

GIANT STARFLAKES

These worked
either facing straight
to the sound source the big end
forward, or sideways to a sound source.
Both positions worked, depending on the experiment.

A DUD MOBILE

Made of plastic
it didn't work. It spoiled
most everywhere tried and any gains it
did add into a sound stream were so marginal as
to be negligable. Oddly enough, up on the edge of the filing
cabinate in the dining room it boosted the clarity of sound coming
around the corner into the area from the living room. It stayed
in that location for over two years, the only use ever
found for it and even so if it was taken away
its ingredient would not really be missed.
It was by far the hardest mobile to
make because the plastic was
so touph to cut. And
it was a dud.

A PULSED SONIC
DISRUPTER ON THE MANTLE

You can see that its a clock motor.
The fact of it being next to
the clock is not meant
to be metaphysical.

It has taped
to its second hand
the smallest of the paper
cutouts. This one was too small to
be of any use in other experiments but in use
as a sonic disrupter in conjunction with other disrupters
using tripods attached to clock motor second hands it somehow cleaned
up the sound a bit in a way that cannot readily be described
only that the whole of the sound stream sounded a
little bit cleaner when this particular
disrupter was sitting in a good
hot spot, such as, in this
case, on the mantle.
Mostly, its best
locations were on the floor,
where, it can be assumed, it contended
with floor creeping standing waves and broke them up.
These waves would be travelling just a bit slower due to friction
encounter with slower propigating floor and carpet matter unlike standing
waves racing straight through the air in fractal geometry patterns
that also responded laterally and vertically in all directions
along angles just about exactly like those that would be
found in atomic crystals and lattices magnified
to room sized proportions.


Let me help
you with this wiggling
image by the 16 dollar brand
new camera by Kodak bought at K-Mart for
16 dollars. The little slash to the left is the battery.

AIRFRAME and AIRFRAMING

LIVINGROOM TO THE RIGHT
KITCHEN TO THE LEFT

Corridor from front entrance
area to kitchen and livingroom
at rear of house. Doorway at right
is to front room used as office for Look
Software Virus Alert business. It had the fax,
bubble jet printer, photocopier, and heat wrapper for
wrapping packages of Virus Alert in clear plastic for stores.
Sonic tuning objects in this room proved particularly sensitive. Some
in particular against the office wall which had the TV in the living room
directly behind, sonic vibrations coming through the wall were
different and responded to tuning object tests differently.
Some house plants are seen on kitchen floor and
shelf at the end of the corridor. Window
to back yard and park beyond.


Only three small areas
in the front room were sentitive
as hot spots, sonic tuning objects improving
the sound's airframe coming into the room. Tuning objects
tried anywhere else in the front office were spoilers.


Airframing was always
a property attended to in sonic
experiments. If an experimental sound stream had
good sonics and fidelity, escpecially deep base reverberations
with echoes that hung to the end of their time, the
Airframe typically was also good.


In numerous
long distance carrying
tests sound carried from the rear
corner or middle of the living room to the right
near the end of the corridor, up the corridor and into the
small washroom to the left, at times further up and out the front door
(behind the camera) up the sidewalk to the front street. Usually
a settup that experimentally had good 'Airframe' would
have sound that wrapped up the corridor with
little (nearly no) drop in volume, and
occasionally out onto the front
street still clearly heard,
at times even with the
sound source cranked
to normal listening
volume.


THE FRONT STREET




QUASAR COMES HOME


Quasar comes home.
The Gatineau Hills across
the Ottawa River are beyond the houses.


Behind to the right
is the two car garage. A long
sidewalk up the side leads to the front
door from which occasionally issued sound which
could be heard out in the front street where Quasar is,
sometimes the sound at normal listening volume in the living room
during Airframe tests. Often, the Airframe was checked outside just to
check the Airframe. Airframing tended to be illusive. I only once
was able to engineer an experiment in which Airframe was
actually created by willful acts in hand made
devices and new tuning techniques but
the fidelity was not useable
enough to continue
that approach.

This dog's chewies are
seen on the living room floor in
many photos, used as ad hoc tuning objects.
Where they lay and which direction pointed effected the
sound. The dog typically moved the chewies around into better hot
spots, he had good ears, a fact. I would often see Quasar move
a chewie to a new place and hear immediate improvement
in sound. I used to puzzle seeing him move it, then
again slightly, then nudge it, then nudge it
again, until one day a particularly
good hot spot hit in improvement
in sound. Quasars ears were
more discerning than mine
so all moves improved
what he was hearing
none ever spoiled
the best sonics.


In critical tests
the chewies were usually
gathered up by me out of the
way otherwise they were left where
they lay. Every so often I would nudge one
with a toe to improve its sonic input. After gathered up
I would later drop them back on the floor and within a day or two Quasar
had them re-distributed in effective hot spots. I really got
the picture when Quasar carefully placed one under
the center node of the raised slinky array,
took it away, came back with another,
carefully placed it, nudged
it, nudged again. When
a jump of improvement
occurred in the sound
stream Quasar caually walked
away and lay down. What actually happened
was that a subtle sharp shrill in the sound stream, vanished.


The dog was also attentive.
A raised streched hexagon slinky array
stayed above the livingroom floor for over three
months and only twice did Quasar's leg snag a strech and
cause the array to collapse. Us humans accidentally collapsed the array
regularly, far more often than did Quasar the dog.


Quasar never
once had to be asked.
He weaved his way around the
stretches and slunk under the array
carefully as a matter of lifestyle never once
rushing into it or hurrying without carefully lifting
one paw then another as he stepped around a
tight squeeze getting to his cushion.
What more could you ask for than
full volunteer co-operation.


QUASAR'S CUSHION

He made it himself.
The last of six from an old
two-piece sofa set, he hand made this
prior to the slinky experiments era. It was placed
behind the leather easy chair and at once Quasar got to work
digging and clawing. In a few weeks a hole had worked its way deep into
the middle right through to the bottom fabric. One day I noticed
it standing upright against the back of the chair. The
next day it was lying upside down. Oh Ho I said
loudly you're cushion's upside down, said
I reaching forth to turn it over.
Quasar came ripping up the
corridor and around the
corner into the living room
on two wheels coming to an abrupt stop
at the cushion, one leg extended right forth, the paw
pressed deep into the fabric, underneath was which was the hole.
Oh, let me turn it over for you, said I being as helpful
as possible. Quasar intensified, the paw going
deeper into the fabric. Oh, you want to
leave it that way, sure, of course,
said I, backing out, the Mexican
standoff at an end. Quasar
never once dug another
ounce of foam
rubber out of
the cushion and
used it as is for
another three years. It
was his cushion. He made it himself.
Quasar is no more. This February 1997 over 15
years old he went to the vets for the sleep that lasts a long time.







In the
backhground in
the above photo a large
coffee table book leans in the corner on its
cover a picture of the East coast which has turned stereoscopic.

STAIRS

At the front
of the house, downstairs,
upstairs. The upstairs always had something
on them in environment tuning and long distance resonance
experiments. Later near the end were sea shells of several kinds all
with prominent Golden Ratio Harmonic Spirals which
proved critical at long distance (on the stairs)
in juicing a clearer stereophonic sound
expecially from mono sound sources
even effecting the stereo in the
livingroom when an iota of better
sound could be heard carefully tuning a
Golden Spiral or pentagram object on the stairs
the stereo in the living room far away down the corridor
was inexorably improved in most noticable ways. Eventually the room
tuned stairs had shells and pentagram objects which stayed in permanent
location rarely having to be changed except for one pulsed
sonic distrupter which was frequently adjusted every
day or two. It turned out that Golden Harmonic
and regular pentagram polygon inputs only
worked at long distances. In the living
room such could improve the sound
within the main sound stream
in the livingroom itself but
anywhere outside of the room
seriously degraded the sound in
both open roomy resonances, and base plus
high end, as well as overall stereophonic quality. When
all of the pentagram polygons and Golden Harmonic Spiral shells
were moved one by one until all had been moved to the front of the house on
the stairs and final round of tests ended with full stereophonic
presence being carried to the front of the house via
Airframe for the first time. This photo does
not show the sea shells, they came
later and photos taken of them
did not produce prints
at the photo lab.

DANGLING SLINKY

Entrance from
dining room to corridor.
Photo shows a slinky with two cutouts
in platform position suspended in the doorway. This
worked boosting long distance fidelity during an experiment
but became a spoiler and was removed as
further tests progressed.

THE MIRACLE HEIGHT

WOODEN RADIO RAISED TO 15 1/4 INCHES

The wooden test tube radio
is tried raised to a height of 15 1/4
inches measured from the floor to its small oval
speaker in the center of its wooden cabinate. No great shakes.
The AC current hiss was particularly loud and was not going
to go away without a great deal of work turning the
room including the raised hexagon slinky array.
This test was short lived. The radio was
shut off and left hanging for decor.

ECLIPTIC AXIS

15 1/4 inches is the
height of the twin pair of
stereo speakers at the bottom of
the 28 inch RCA TV set a round glass top
coffee table in the living room. When objects first
began to be raised, a better sound was discerned at a certain
height which began to be noticed when a number of raised objects all
independently arrived at the same height, measurement confirmed
what the eyeballs were suggesting, that a height of 15 1/4
inches seemed to be significant. It turned out that
the TV's glass top table was 15 1/4 inches and
the TV'S speakers 1 inch higher. It was
found that the surface of the table
and not the TV speaker's height
was producing the 'miracle'
height. Even through
closed doors, on
the other side
a better clearer
sound could be heard
exactly 15 1/4 inches above
the floor on the back side of the
closed door, even a door a long distance
away in another part of the house from the sound source.
The purer clearer sound coming through a thin line 15 1/4 up
from the floor on the door was utterly unmistakable
when down on the knees, bum up as high as it
would go, to get the ears down as far
as they would go, to focus an
ear lobe at the door and
move up and down slightly
listening for that sudden brisk
widge of purity. A finger marking the spot
and stretch to a yard stick to measure, confirmed the
good news, that the open window of purer brisk clarity coming
through the closed door was exactly at 15 1/4 inches above the floor.
Even a closed door upstairs had the same slice of purer band
width coming through it. An ecliptic was slicing through
the entirety of the sound stream pervading the house.
15 1/4 inches above a table, it was there, above
a shelf it was there. Everywhere, above a flat
surface, it was there. This is concidered one
of the most important discoveries from the
sonic tests, the other of course that a
full stereo full range can be gained
from any Mono any sound source.

STABILITY


The positive effects
of any tuning object or sonic
device put at that 15 1/4 inch height
was amplified, sometimes by a major amount.
The whole sound stream became stable, it could stay
the same (give a little take a little) for days, when the
slinky array initially tried close to the ground, was raised to
15 1/4 inches above the living room floor. For the first
time after more than four years, a sound stream
stayed more or less constant, because
of the 'Miracle Height'.

CURIOSITY FACTOR PLUS

WISHFULL THINKING


The challenge was to see
how much of this image could be
recovered, knowing that a great deal of
information can be stored hidden in the media of
a dark photo in various densities in contrasts and brightness
too dark to be discerned by the human eye yet still in a range wide enough
to allow useful images to be brought out by enhancement skills on a
simple home computer PC Windows 95 class. This attempt
did not bring out more than just enough to reveal
the intent of the original photo. It is a hodge
podge stash of sonic objects ready for
use in a moment as needed. There
is a bankers box in which are
several paper cutouts, for
instance. It happens
that a computer
circuit board
also is in the
stash by way of the
fact that it was put there
to get it out of the way when the
main Virus Alert software developement
computer was upgraded. Here is 'curiosity factor plus'.


FIRST LEVEL. SOME IMAGERY APPEARS







SECOND ATTEMPT

18z



Attempts would go no further. At
one point bringing out more imagery using a high
contrast of +28 with low brightness of -16, the picture came
out green. Attempts to change the color did not work although a first
better image boosting the initial shot shown had blue cranked
down to -17 and both red and green cranked to +25.
Thereafter the color would not change
without degrading the image. At
least you know there was a
stash of re-useable
stuff on hand.


FINAL ATTEMPT







With hits as high as
+33 and -15 back and forth,
back and forth. Beyond the image shown,
any hits retrograded causing deterioration of the image.


The seven node hexagram
looking like an ionnic diffraction
pattern from atomic physics, to the left, is
a starflake of seven hand filed cartwheel beads glued together.


THE ORIGINAL










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